So this is
my attempt to delineate the history of emo into a few discrete
trends and geographical hubs. None of this will be all-inclusive,
but should give you an basic idea of what happened when, where,
and by whom. Under construction.

After Minor
Threat broke up in late 1983, the vibrant DC hardcore-punk scene
that exploded in 1981 seems to start to run out of steam and
fresh ideas within the established DC hardcore sound. The
wistful, posthumous Minor Threat 7" "Salad Days"
comes out in 1984 and drives the final nail into the coffin of DC
hardcore punk. Bands all over the country begin casting about for
new things to do : DRI and Bad Brains start going cheeze-metal,
New York bands start doing tough-guy mosh, 7Seconds goes jangly
U2 alternative, etc. The prevailing change in D.C. is toward
melodic rock with punk sensibilities.

In spring
1984, a new band called Rites Of Spring forms from members of The
Untouchables/Faith and Deadline. This band retains a punk speed
and frenzy, but brings a totally new vocal approach to the mix.
Singer Guy Picciotto keeps an out-of-breath punk style most of
the time, at times delving into intensely personal lyrics
dripping with emotion and sweat. His voice breaks down at
climactic moments into a throaty, gravelly, passionate moan.

The summer
of 1985 becomes known as "Revolution Summer" when a new
wave of rock-tempo, melody based, sung-vocal bands forms out of
the DC punk musician pool with diverse rock sounds - Three, Gray
Matter, Soulside, Ignition, Marginal Man, Fire Party, Rain,
Shudder to Think, etc. Few bands retain the fast hardcore
punk-based sound with the new vocal approach, Dag Nasty being the
notable exception.

Minor
Threat's singer, Ian MacKaye's, sings for a band called Embrace
(compare the band name to earlier DC bands Minor Threat, Void,
and State Of Alert) whose lyrics are emotional and deeply
self-questioning, but still clear and unambiguous. Musically, the
group (formed mostly of ex-Faith members) writes midtempo,
somewhat jangly music with a lot of pop guitar hooks. MacKaye's
vocals retain his trademark bold enunciation, with only
occasional sparks of emotive delivery.

These
bands' sound eventually becomes known as the classic "D.C.
sound." Some of it is derisively labeled "emo," as
shorthand for "emotional." One account has this term
first appearing in a Flipside interview with Ian MacKaye. Shortly
thereafter DC bands aquire the tag "emo-core."

Slightly
later (1986), some bands begin to focus on the "emo"
element itself. The Hated in Annapolis (near D.C.) seem to be the
first post-Rites of Spring to do this. Shortly thereafter, Moss
Icon appears in in the same town. Moss Icon strips the
"emo" element down to the core, and adds a great deal
of intricate, arpeggiated guitar melody (by Tonie Joy, later of
Born Against, Lava, Universal Order of Armageddon, etc.) with a
strong focus on loud/soft dynamics. The vocals, too, break new
ground by building up to actual top-of-the-lungs screaming at
songs' climaxes.

Moss Icon,
as a relatively well-known band that toured some, introduces the
punk scene to music that has core emphasis on emotion instead of
punk energy. As such, I consider them the starting point for the
emo movement, not Rites of Spring as is more commonly asserted.
Later emo bands draw heavily from the Moss Icon dynamics, guitar
style, and vocal delivery.